Remark from the Editor: In 1972, John Kani, as a member of The Serpent Players theater troupe in Port Elizabeth, South Africa, collaborated with fellow African actor Winston Ntshona and playwright Athol Fugard to create the play “Sizwe Banzi Is Dead”. This drama primarily focuses on the restrictive pass laws under apartheid, which dictated where Blacks were allowed to work, reside, and travel.
One year past, they penned “The Island,” a work inspired by real events and depicting a prison remarkably similar to where Nelson Mandela spent 27 years at Robben Island. In this production, Kani and Ntshona were the solitary performers directed by Fugard in both plays.
Here, Kani pays tribute to Fugard, who died recently at 92:
In the year 1965, my life in New Brighton, Port Elizabeth, appeared incredibly grim. The Eastern Cape seemed like a barren landscape filled with hardship and sorrow. Everyone we knew was either imprisoned, forced into exile, or had met a tragic end.
Growing up, I yearned for the opportunity to clandestinely depart from our beloved South Africa and join Umkhonto We Sizwe, training to become soldiers that would ultimately free our nation. A confidant of mine, Fats Bokholan, introduced me to a troupe of actors known as the Serpent Players Drama Group who were putting on shows in the township. He posed the question if I’d be interested in joining their ranks. Excitedly, he informed me they were performing a play titled Antigone, penned by Sophocles. This intriguing prospect was too enticing to pass up, so I eagerly agreed.
Stepping into the rehearsal space, I found myself amidst familiar faces, save for one white fellow tagging along. It struck me as odd, given the militant crew I’d known from New Brighton were usually tight-knit. As Fats began his introductions, my eyes landed on the stranger. “John, meet Athol. Athol, John,” Fats said. That simple exchange marked a fresh chapter in my life and fostered a bond that would endure for years to come.
During the tumultuous 1960s, Athol, Winston Ntshona, and I collaborated closely, crafting and acting in plays that delved into the harsh realities of life for Black people under apartheid. Our work inevitably caught the attention of the Security Police, who relentlessly monitored our stage performances and even intruded upon our personal lives. Yet, despite these challenging circumstances, Athol remained steadfast with us.
Back in 1972, alongside my comrades Winston and Athol, I had the honor of bringing to life the powerful narrative that became “Sizwe Banzi Is Dead.” The following year, we continued our creative journey with the equally compelling “The Island.” And as they say, history has a way of remembering such extraordinary collaborations.
I had the privilege of knowing Athol as my brother, fellow fighter, and lifelong friend during our shared struggle for the freedom of our nation. When discussing the evolution of protest theater, it’s impossible to overlook the contributions made by Athol Fugard, Winston Ntshona, and myself.
With their passing, I am left to confront the reality that my cherished companions, Winston and Athol, are no longer with us. Their absence leaves me feeling incredibly lonely. My solace comes from the recollections of these titans in the South African theater, as well as their unwavering fight for a more equitable life for everyone.
Athol had faith in me, even during my outbursts, and I reciprocated his trust, appreciating his calm demeanor. To both of us, the power of words as a tool for bringing about change was not something to be underestimated.
I will miss him very much.
Dear Athol, throughout your life, you’ve served as an inspiring beacon to your fellow theater enthusiasts. You are a colossal figure in the realm of South African storytelling. Your words and works have touched and transformed countless lives, instilling inspiration, elevation, and education within them.
Hamba Qhawe lamaQhawe. Your work is done. Rest in peace, my true and loyal friend.”
Dr. John Kani, OIS, OBE
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2025-03-14 01:24